Rated PG for some rude behavior, 100 minutes
Third-rate "Standing Ovation" doesn't earn one
I attempt to go into most films with little to no expectations, hoping that it will surprise me and provide some entertainment value. I went in with little expectation for "Standing Ovation," a small independent film that also bills itself as a musical about some teens going for a big prize. Maybe channel some of that old Judy Garland-Mickey Rooney spirit, right? (Young ones will not even know who that is!) "Standing Ovation" is a amateurish, third-rate production with among the worst acting and writing I've seen this year, with more talent found at a high-school talent show.
Five Atlantic City middle-school studnets form a dance troupe to compete for a million-dollar prize in a national television music-video contest. Brittany (Kayla Jackson), Blaze (Pilar Martin), Maya (Na'jee Wilson), Cameron (Kayla Raparelli), and Tatiana (Alexis Biesiada) are best pals with a dream. Together they form "The 5 Ovations," a dance troupe that supposedly has what it takes to hit it big. But they're not the only ones with big aspirations, because their pretty rivals "The Wiggies" have a flashy image and a reputation for underhanded tactics to win. Glamorous and wealthy, ambitious sisters Ziggy (London Clark), Zoey (Jeana Zettler), Zita (Ashley Cutrona), Twiggy (Devon Jordon), and Angel (Erika Corvette) who also have a very ambitious father, Mr. Wiggs (Sal Dupree). With everything on the line, the 5 Ovations are prepared to razzle and dazzle.
Musicals have always been a tricky genre to begin with, particularly in the modern movie era. Only a handful such as "Grease" and "High School Musical" have the ability to charm and become big hits in the process. "Standing Ovation" will not be among those hits. Geared directly for the tween market, it's not altogether impossible to score a hit - the aforementioned "HSM" has done that - but you need a talented cast and production team to succeed, which is where "Standing Ovation" clearly fails, and in a big way.
The musical numbers seem slapdash, rushed and too obvious they're lip-synching and everything in between is even worse. I mean, is there any real doubt as to what will happen and/or if the tweens will actually get what they want in the end. Overall, the blundering production is so cheap and awful even most tweens will know crap when they see it. Though I'm hardly a fan of the "Twilight" series that would make a far better choice than this drivel.
Friday, July 16, 2010
Joan Rivers: A Piece of Work - A-
Rated R for language and sexual humor, 84 minutes
"Piece of Work:" Brilliant doc on a brilliant performer
Love her or hate her, you have to admire the energy and stamina of comedian and all-around funny lady Joan Rivers, 77-years young and still going strong. A ground-breaking comedian, a workaholic and a smart, brilliantly funny person on and off-stage, the new documentary "Joan Rivers: A Piece of Work" follows Rivers for a year chronicling the ebb and flow of her career. As well known as she is, she takes work - any work - she can get whether it's "Celebrity Apprentice" or performing at a Wisconsin casino.
Ironically, even the filmmakers couldn't have predicted what happened during the filming of the documentary. As it opens, Rivers seems desperate for work and is truly frightened by the possibility of having an empty calendar. She appears on "Celebrity Apprentice" and lo and behold - ends up winning the thing - and transforms herself for another career resurgence. A happy ending but up until then, Rivers seemed to have peaked following her appearances on "The Tonight Show" and the downward spiral of her career after her own late-night TV show tanked that essentially killed her manager/husband, Edgar Rosenberg (he committed suicide after Joan's show was canceled) and nearly killed her career.
Yet Rivers, as "Piece of Work" effortlessly chronicles, is a survivor, with strength to carry on a career that has included other daytime talk shows, books, plays, jewelry, and TV red carpet host (ironically, it's the thing that seems to be missing the most from the documentary). Rivers has had a tough go of it, and much like other comedians, is surprisingly insecure and even reserved at times, but is also smart, tremendously irreverent and hilarious wherever she's at.
"Piece of Work" doesn't delve deeply into all facets of Rivers personality - there are things that could've been explored more (namely her relationship with her late husband and anything having to do with Annie Duke from "Celebrity Apprentice") - but it's full of funny clips from past and present. It shows Rivers pre-plastic surgery (and it is amazing to see what she's had done but she's also forthright about it) stand-up routines, which are still as funny as her current, profanity-laden routine.
I like the fact that "Piece of Work" doesn't just show a bunch of talking heads, though it's nice to see such names as Don Rickles and Kathy Griffin extol her work along with showing Joan's imperfections and problems (an issue with her manager). The best scene has Joan taking on a heckler in rare form, much of which can't be repeated here ("...it's comedy, you *****...").
However you feel about Rivers may be one thing, but one thing is for sure: she's the energizer bunny of comedians and she has no plans to slow down. Good thing for us, or we wouldn't have as much to laugh about. Joan Rivers is truly a "Piece of Work" and here's hoping we have many more years with you.
"Piece of Work:" Brilliant doc on a brilliant performer
Love her or hate her, you have to admire the energy and stamina of comedian and all-around funny lady Joan Rivers, 77-years young and still going strong. A ground-breaking comedian, a workaholic and a smart, brilliantly funny person on and off-stage, the new documentary "Joan Rivers: A Piece of Work" follows Rivers for a year chronicling the ebb and flow of her career. As well known as she is, she takes work - any work - she can get whether it's "Celebrity Apprentice" or performing at a Wisconsin casino.
Ironically, even the filmmakers couldn't have predicted what happened during the filming of the documentary. As it opens, Rivers seems desperate for work and is truly frightened by the possibility of having an empty calendar. She appears on "Celebrity Apprentice" and lo and behold - ends up winning the thing - and transforms herself for another career resurgence. A happy ending but up until then, Rivers seemed to have peaked following her appearances on "The Tonight Show" and the downward spiral of her career after her own late-night TV show tanked that essentially killed her manager/husband, Edgar Rosenberg (he committed suicide after Joan's show was canceled) and nearly killed her career.
Yet Rivers, as "Piece of Work" effortlessly chronicles, is a survivor, with strength to carry on a career that has included other daytime talk shows, books, plays, jewelry, and TV red carpet host (ironically, it's the thing that seems to be missing the most from the documentary). Rivers has had a tough go of it, and much like other comedians, is surprisingly insecure and even reserved at times, but is also smart, tremendously irreverent and hilarious wherever she's at.
"Piece of Work" doesn't delve deeply into all facets of Rivers personality - there are things that could've been explored more (namely her relationship with her late husband and anything having to do with Annie Duke from "Celebrity Apprentice") - but it's full of funny clips from past and present. It shows Rivers pre-plastic surgery (and it is amazing to see what she's had done but she's also forthright about it) stand-up routines, which are still as funny as her current, profanity-laden routine.
I like the fact that "Piece of Work" doesn't just show a bunch of talking heads, though it's nice to see such names as Don Rickles and Kathy Griffin extol her work along with showing Joan's imperfections and problems (an issue with her manager). The best scene has Joan taking on a heckler in rare form, much of which can't be repeated here ("...it's comedy, you *****...").
However you feel about Rivers may be one thing, but one thing is for sure: she's the energizer bunny of comedians and she has no plans to slow down. Good thing for us, or we wouldn't have as much to laugh about. Joan Rivers is truly a "Piece of Work" and here's hoping we have many more years with you.
Inception - A-
Rated PG-13 for sequences of violence and action throughout, 148 minutes
"Inception:" A spellbinding sci-fi tale with DiCaprio at the center
I will say up front that "Inception" is too long, too confusing and it stars one of my least favorite actors, the overly-earnest Leonardo DiCaprio. I will also say that it's one of the most entertaining, mesmerizing films that I've seen this year, even if I still didn't quite understand all of it. But then "Inception" deals with dreams and the subconscious, something that is often hard to wrap your brain around.
DiCaprio is Dom Cobb, a skilled thief given one last shot at redemption. Cobb is the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved, including his two adorable children and a wife (Marion Cotillard) who went off the deep end and whose fate was squarely in his hands.
One last job could give him his life back but only if he can accomplish the impossible: inception. Instead of the perfect heist, Cobb and his team of specialists (including Joseph Gordon-Levitt, Ken Watanabe and Ellen Page) have to pull off the reverse: their task is not to steal an idea but to plant one in the head of a young executive (Cillian Murphy). If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
"Inception" is a mind-bending, cerebral but fascinating sci-fi thriller from "Dark Knight" director Christopher Nolan, who once again proves there's life outside a dark cape and mask. It's also thoroughly and maddeningly frustrating at times but if you stick with it you might actually enjoy it. The climax is a little muddled and overextended, but Nolan's all-star cast and eye-popping, Oscar-worthy visuals are a treat throughout the well-paced film.
DiCaprio proves himself a worthy sci-fi action hero, and proves what a good director and good material can do to tone down his normally excessively earnest portrayals (his most recent flick, "Shutter Island," proved what a good director and bad material did for him). For one, Nolan has the good measure to keep DiCaprio's typical shouting to a minimal (he reminds of other big movie stars, namely Nicolas Cage and Al Pacino, who have a penchant for shouting to prove their acting prowess). Second, he makes the visuals and the theme the movie's main star, which means that DiCaprio isn't in every shot, a good thing since Nolan has also assembled a sublime cast.
Page and Gordon-Levitt are both strong in large supporting roles, as is Murphy (if you remember, he was the villain in Nolan's "Batman Returns") in a more sensitive turn for the unusual actor. Oscar-winner Cotillard is good in what is the film's trickiest role that isn't fully explained until "Inception's" final moments. Caine, who features prominently in the film's trailers, really just cameos to bookend the film, but then Nolan has a few other eclectic actors who aren't used as much these days: "Platoon's" Tom Berenger (unrecognizable until I saw the credits), Pete Postlewaite and Lukas Haas (yes, the boy from the 1985 film "Witness," now grown up).
Of course, you can't overlook the first-rate visuals and eye-popping visuals and sets, with buildings turning upside down, trains barrelling through and houses falling into the ocean. If I tried to explain them to you, you wouldn't understand "Inception" anymore than after you actually saw it. It blurs the line between reality, the sub-conscious and redemption, and I can really say is that "Inception" is a spellbinding, mind-bending thriller about what is actually real and what isn't.
With a tolerable DiCaprio performance, some astonishing special-effects and a few well-handled action set pieces, "Inception" is a mesmerizing, highly entertaining (if not overlong at 148 minutes) and highly original film that defies explanation and is better seen than explained.
"Inception:" A spellbinding sci-fi tale with DiCaprio at the center
I will say up front that "Inception" is too long, too confusing and it stars one of my least favorite actors, the overly-earnest Leonardo DiCaprio. I will also say that it's one of the most entertaining, mesmerizing films that I've seen this year, even if I still didn't quite understand all of it. But then "Inception" deals with dreams and the subconscious, something that is often hard to wrap your brain around.
DiCaprio is Dom Cobb, a skilled thief given one last shot at redemption. Cobb is the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved, including his two adorable children and a wife (Marion Cotillard) who went off the deep end and whose fate was squarely in his hands.
One last job could give him his life back but only if he can accomplish the impossible: inception. Instead of the perfect heist, Cobb and his team of specialists (including Joseph Gordon-Levitt, Ken Watanabe and Ellen Page) have to pull off the reverse: their task is not to steal an idea but to plant one in the head of a young executive (Cillian Murphy). If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
"Inception" is a mind-bending, cerebral but fascinating sci-fi thriller from "Dark Knight" director Christopher Nolan, who once again proves there's life outside a dark cape and mask. It's also thoroughly and maddeningly frustrating at times but if you stick with it you might actually enjoy it. The climax is a little muddled and overextended, but Nolan's all-star cast and eye-popping, Oscar-worthy visuals are a treat throughout the well-paced film.
DiCaprio proves himself a worthy sci-fi action hero, and proves what a good director and good material can do to tone down his normally excessively earnest portrayals (his most recent flick, "Shutter Island," proved what a good director and bad material did for him). For one, Nolan has the good measure to keep DiCaprio's typical shouting to a minimal (he reminds of other big movie stars, namely Nicolas Cage and Al Pacino, who have a penchant for shouting to prove their acting prowess). Second, he makes the visuals and the theme the movie's main star, which means that DiCaprio isn't in every shot, a good thing since Nolan has also assembled a sublime cast.
Page and Gordon-Levitt are both strong in large supporting roles, as is Murphy (if you remember, he was the villain in Nolan's "Batman Returns") in a more sensitive turn for the unusual actor. Oscar-winner Cotillard is good in what is the film's trickiest role that isn't fully explained until "Inception's" final moments. Caine, who features prominently in the film's trailers, really just cameos to bookend the film, but then Nolan has a few other eclectic actors who aren't used as much these days: "Platoon's" Tom Berenger (unrecognizable until I saw the credits), Pete Postlewaite and Lukas Haas (yes, the boy from the 1985 film "Witness," now grown up).
Of course, you can't overlook the first-rate visuals and eye-popping visuals and sets, with buildings turning upside down, trains barrelling through and houses falling into the ocean. If I tried to explain them to you, you wouldn't understand "Inception" anymore than after you actually saw it. It blurs the line between reality, the sub-conscious and redemption, and I can really say is that "Inception" is a spellbinding, mind-bending thriller about what is actually real and what isn't.
With a tolerable DiCaprio performance, some astonishing special-effects and a few well-handled action set pieces, "Inception" is a mesmerizing, highly entertaining (if not overlong at 148 minutes) and highly original film that defies explanation and is better seen than explained.
Wednesday, July 14, 2010
The Sorcerer's Apprentice - B-
Rated PG for fantasy action violence, some mild rude humor and brief language, 110 minutes
Pleasant, mindless "The Sorcerer's Apprentice"
No one has ever accused Nicolas Cage of subtly, at least not intentionally being low-key, but in a remarkable way, he doesn’t overdo it in his new film “The Sorcerer’s Apprentice,” a live-action remake of the 1940 classic Walt Disney film “Fantasia.” Meanwhile, the film itself is an entertainingly busy big-budget action mish-mash of spectacle and special effects. Much like Jerry Bruckheimer’s other productions, this one is a bit mindless but enjoyable enough if you don’t think about it much.
Balthazar Blake (Cage) is a master sorcerer in modern-day Manhattan trying to defend the city from his arch-nemesis, Maxim Horvath (Alfred Molina). Balthazar can't do it alone, so he recruits Dave Stutler (“She’s Out of My League’s” Jay Baruchel), a seemingly average guy who demonstrates hidden potential, as his reluctant protégé. The sorcerer gives his unwilling accomplice a crash course in the art and science of magic, and these unlikely partners will work together to stop the forces of darkness, including an arch-rival sorcerer (Alfred Molina, chewing up scenery).
“The Sorcerer’s Apprentice” is simplistic but guilty-pleasure fun summer entertainment, which isn’t a necessarily bad thing. Cage doesn’t overdo it as he normally does, a pleasantly mild surprise given his penchant to go over-the-top from scene one, and even more surprising given that the director is his “National Treasure” director Jon Turtletaub. Big-screen action adventure flicks like this usually work better when there is a decent pairing, and his apprentice, played by the always-watchable Baruchel works in part because of the tit-for-tat Cage-Baruchel chemistry. Particularly fun is Baruchel’s typical deadpan, monotone delivery that is contrast to Cage’s usual hyper-energy.
“The Sorcerer’s Apprentice” is most problematic because of the uneven script with an overload of writers; the mid-section lags and chases too many rabbits and it all ends rather way-too predictably, but there’s enough energetic fun and splashy, expensive special-effects served up Bruckheimer-style that will please the masses. Molina, as he proved in “Spider-Man 2,” shows he’s a deliciously fun, if not milquetoast, villain, but he chews on scenery you may not mind.
“The Sorcerer’s Apprentice” is bland, enjoyable and pleasant popcorn-flick fun. A month from now or even a few days from now, you may not remember much of it (“National Treasure” was the same way), but it’s a harmless summer diversion, and that’s not a terrible thing.
Pleasant, mindless "The Sorcerer's Apprentice"
No one has ever accused Nicolas Cage of subtly, at least not intentionally being low-key, but in a remarkable way, he doesn’t overdo it in his new film “The Sorcerer’s Apprentice,” a live-action remake of the 1940 classic Walt Disney film “Fantasia.” Meanwhile, the film itself is an entertainingly busy big-budget action mish-mash of spectacle and special effects. Much like Jerry Bruckheimer’s other productions, this one is a bit mindless but enjoyable enough if you don’t think about it much.
Balthazar Blake (Cage) is a master sorcerer in modern-day Manhattan trying to defend the city from his arch-nemesis, Maxim Horvath (Alfred Molina). Balthazar can't do it alone, so he recruits Dave Stutler (“She’s Out of My League’s” Jay Baruchel), a seemingly average guy who demonstrates hidden potential, as his reluctant protégé. The sorcerer gives his unwilling accomplice a crash course in the art and science of magic, and these unlikely partners will work together to stop the forces of darkness, including an arch-rival sorcerer (Alfred Molina, chewing up scenery).
“The Sorcerer’s Apprentice” is simplistic but guilty-pleasure fun summer entertainment, which isn’t a necessarily bad thing. Cage doesn’t overdo it as he normally does, a pleasantly mild surprise given his penchant to go over-the-top from scene one, and even more surprising given that the director is his “National Treasure” director Jon Turtletaub. Big-screen action adventure flicks like this usually work better when there is a decent pairing, and his apprentice, played by the always-watchable Baruchel works in part because of the tit-for-tat Cage-Baruchel chemistry. Particularly fun is Baruchel’s typical deadpan, monotone delivery that is contrast to Cage’s usual hyper-energy.
“The Sorcerer’s Apprentice” is most problematic because of the uneven script with an overload of writers; the mid-section lags and chases too many rabbits and it all ends rather way-too predictably, but there’s enough energetic fun and splashy, expensive special-effects served up Bruckheimer-style that will please the masses. Molina, as he proved in “Spider-Man 2,” shows he’s a deliciously fun, if not milquetoast, villain, but he chews on scenery you may not mind.
“The Sorcerer’s Apprentice” is bland, enjoyable and pleasant popcorn-flick fun. A month from now or even a few days from now, you may not remember much of it (“National Treasure” was the same way), but it’s a harmless summer diversion, and that’s not a terrible thing.
Tuesday, July 6, 2010
Winter's Bone - B+
Rated R for some drug material, language and violent content, 100 minutes
Superbly chilling, well-drawn "Winter's Bone"
If you need a genuinely chilling escape from the summer heat, you'll find it in the independently-made drama "Winter's Bone." Based on the 2006 novel by Daniel Woodrell and set in the backwoods of the Ozark mountains, it's a dark but finely-drawn, well-acted character piece and a powerful drama that's helmed by and starring relative cinematic newcomers.
17 year-old Ree Dolly (Jennifer Lawrence) sets out to track down her father, who put their house up for his bail bond and then disappeared. If she fails, Ree and her family, including her mentally-incapable mother and two young siblings, will be turned out into the Ozark woods. Challenging her outlaw kin's code of silence and risking her life, Ree hacks through the lies, evasions and threats offered up by her relatives and begins to piece together the truth.
"Winter's Bone" is a depressing but superbly shaded, adroit drama with a powerful, star-making turn from 19-year old Lawrence, best known for her TV work on the comedy "The Bill Engvall Show." Her strong but subtle turn here is one of the year's best and should bring not only well-deserved accolades but better work as well. "Winter's Bone" rightfully won the Grand Jury Prize in the Dramatic Film category at this year's Sundance Film Festival and is directed and written by Debra Granik in only her second feature-length film.
The low-budget, independently-made, shot on location in Missouri, has some stark, gray visuals that cover the film well and sets the tone for the downbeat film. It also speaks well to the language and the lifestyle of those that live in the area, who tend to protect their own. Lawrence's confident turn highlights the film (she even skins a squirrel, in gory detail) but watch for strong turns from TV actors John Hawkes, as her helpful but scary uncle named Teardrop, and Kevin Breznahan as a lowlife named Little Arthur.
The powerful ending is unforgettable and will stay with you long after you leave the theater. "Winter's Bone" is one of the year's best and deserves to be seen.
Superbly chilling, well-drawn "Winter's Bone"
If you need a genuinely chilling escape from the summer heat, you'll find it in the independently-made drama "Winter's Bone." Based on the 2006 novel by Daniel Woodrell and set in the backwoods of the Ozark mountains, it's a dark but finely-drawn, well-acted character piece and a powerful drama that's helmed by and starring relative cinematic newcomers.
17 year-old Ree Dolly (Jennifer Lawrence) sets out to track down her father, who put their house up for his bail bond and then disappeared. If she fails, Ree and her family, including her mentally-incapable mother and two young siblings, will be turned out into the Ozark woods. Challenging her outlaw kin's code of silence and risking her life, Ree hacks through the lies, evasions and threats offered up by her relatives and begins to piece together the truth.
"Winter's Bone" is a depressing but superbly shaded, adroit drama with a powerful, star-making turn from 19-year old Lawrence, best known for her TV work on the comedy "The Bill Engvall Show." Her strong but subtle turn here is one of the year's best and should bring not only well-deserved accolades but better work as well. "Winter's Bone" rightfully won the Grand Jury Prize in the Dramatic Film category at this year's Sundance Film Festival and is directed and written by Debra Granik in only her second feature-length film.
The low-budget, independently-made, shot on location in Missouri, has some stark, gray visuals that cover the film well and sets the tone for the downbeat film. It also speaks well to the language and the lifestyle of those that live in the area, who tend to protect their own. Lawrence's confident turn highlights the film (she even skins a squirrel, in gory detail) but watch for strong turns from TV actors John Hawkes, as her helpful but scary uncle named Teardrop, and Kevin Breznahan as a lowlife named Little Arthur.
The powerful ending is unforgettable and will stay with you long after you leave the theater. "Winter's Bone" is one of the year's best and deserves to be seen.
Predators - B
Rated R for pervasive language, gore and strong creature violence, 107 minutes
Solidly suspensful "Predators" a worthy follow-up
"Predators" is a chilling horror follow-up from noted filmmaker Robert Rodriguez to the original "Predator" film of the late '80s and early '90s. Bloody and simplistic, there are a handful of suspensful moments that raise it above the normal horror schlock that Hollywood churns out these days. While flawed - the story is sluggish and its climax lacks momentum, "Predators" should be given credit for not overly relying on gore as so many other films in this genre do.
Designed as both a sequel and a reboot, "Predators" should please those horror-film enthusiasts clamoring for the next big science-fiction horror flick. It's set in 2010, and begins as a group of hardened criminals are literally and mysteriously dropped in the middle of a jungle on a destitute planet. They quickly realize they've been dropped in a place where they're being hunted by a deadly, smart group of ugly creatures. The smart, street-wise Royce (Adrien Brody) quickly emerges as the leader of this unusual group that also includes Isabelle (Alice Braga), who may have some prior knowledge of the predator creatures, and the wimpy but secretive doctor Edwin (Topher Grace). They try to find a way to both outwit the creatures and find their way off the planet, which is very quickly becoming a death trap for anyone who lands there.
"Predators" is a genuinely frightening and worthy follow-up to the original "Predator" films from years ago. On one hand, it lacks the originality and the suspense of the original 1987 Schwarzenegger film, but it has enough chilling moments to stand on its own. In being titled "Predators" (which in this case has double meaning: for the nasty creatures and the nasty humans they hunt) wants to emulate another highly successful horror sequel - "Aliens" - and while it's no match for that film in providing some genuinely scary moments - like that film it should be given credit for relying on building suspense than outright gore. It's certainly violent, but peppered with enough blood to please those looking for that.
The best moments in "Predators" come in its initial chapters and from one particular fun scene involving some "mini" predator-dog-like creatures. It's ably grounded by a muscular Brody and a tough Braga ("Repo Men"), who make for a good team. Grace is charming but predictably bland in the Paul Reiser "Aliens" role, while the rest of the cast is too brief to make an impression. Particularly unfortunate is the very brief role from Laurence Fishburne, who is wasted as a survivor who has gone insane, in what is essentially a 10-minute cameo in the saggy middle of the film, which slows down the film considerably as it begins killing off characters.
The creatures and the special effects, a mixture of people in suits and CG, is detailed, suitably nasty and graphic. The extended climax is way too predictable, but does feature a tense, bloody fight between Brody, Braga and the creatures. Directed by Nimrod Antal ("Armored"), and produced by Rodriguez, "Predators" isn't perfect but is an above-average entry in the action-horror-film-sequel genre and is certainly worth a look.
Solidly suspensful "Predators" a worthy follow-up
"Predators" is a chilling horror follow-up from noted filmmaker Robert Rodriguez to the original "Predator" film of the late '80s and early '90s. Bloody and simplistic, there are a handful of suspensful moments that raise it above the normal horror schlock that Hollywood churns out these days. While flawed - the story is sluggish and its climax lacks momentum, "Predators" should be given credit for not overly relying on gore as so many other films in this genre do.
Designed as both a sequel and a reboot, "Predators" should please those horror-film enthusiasts clamoring for the next big science-fiction horror flick. It's set in 2010, and begins as a group of hardened criminals are literally and mysteriously dropped in the middle of a jungle on a destitute planet. They quickly realize they've been dropped in a place where they're being hunted by a deadly, smart group of ugly creatures. The smart, street-wise Royce (Adrien Brody) quickly emerges as the leader of this unusual group that also includes Isabelle (Alice Braga), who may have some prior knowledge of the predator creatures, and the wimpy but secretive doctor Edwin (Topher Grace). They try to find a way to both outwit the creatures and find their way off the planet, which is very quickly becoming a death trap for anyone who lands there.
"Predators" is a genuinely frightening and worthy follow-up to the original "Predator" films from years ago. On one hand, it lacks the originality and the suspense of the original 1987 Schwarzenegger film, but it has enough chilling moments to stand on its own. In being titled "Predators" (which in this case has double meaning: for the nasty creatures and the nasty humans they hunt) wants to emulate another highly successful horror sequel - "Aliens" - and while it's no match for that film in providing some genuinely scary moments - like that film it should be given credit for relying on building suspense than outright gore. It's certainly violent, but peppered with enough blood to please those looking for that.
The best moments in "Predators" come in its initial chapters and from one particular fun scene involving some "mini" predator-dog-like creatures. It's ably grounded by a muscular Brody and a tough Braga ("Repo Men"), who make for a good team. Grace is charming but predictably bland in the Paul Reiser "Aliens" role, while the rest of the cast is too brief to make an impression. Particularly unfortunate is the very brief role from Laurence Fishburne, who is wasted as a survivor who has gone insane, in what is essentially a 10-minute cameo in the saggy middle of the film, which slows down the film considerably as it begins killing off characters.
The creatures and the special effects, a mixture of people in suits and CG, is detailed, suitably nasty and graphic. The extended climax is way too predictable, but does feature a tense, bloody fight between Brody, Braga and the creatures. Directed by Nimrod Antal ("Armored"), and produced by Rodriguez, "Predators" isn't perfect but is an above-average entry in the action-horror-film-sequel genre and is certainly worth a look.
Despicable Me - B+
Rated PG for rude humor and mild action, 95 minutes
Being evil has never been so much fun in "Despicable Me"
By now you have probably seen the ubiquitous ads for the energetic new animated movie "Despicable Me," with all those oddly amusing, peculiar yellow minions running amok. They nearly steal the wistful movie, but they're just part of all the fun about an evil scientist voiced by "The Office's" Steve Carell who adopts three young kids as part of his bigger plan to regain his footing as the world’s top villain. "Despicable Me" has enough stamina, good messages and laughs to keep everyone in the family engaged, even if some of the humor goes above the head of the young ones.
Carell is Gru, now the world's #2 villain behind his arch-nemesis Vector (Jason Segel) when Vector steals the world-famous Egyptian pyramids. Gru's new plan is to build a rocket and with the help from a shrink ray, steal the moon. His plan includes adopting, or more like kidnapping, three young precocious girls from Mrs. Hattie (Kristen Wiig)'s home: Margot (Miranda Cosgrove) and her sisters Edith and Agnes. With the help of the girls, his trusted scientist Dr. Nefario (Russell Brand) and his legion of little yellow minions, Gru hopes to regain the #1 villain position; though in the process he becomes attached to the girls and realizes there’s more to life than being the top villain.
"Despicable Me" proves that being bad can be fun and ends up a sweet-natured, amusing occasionally peculiar look at the importance of family. It tries too hard, lacks heart particularly in the finale and is infused with too much adult humor, but its pleasant spirit is ingratiating. You can thank all those little yellow minions, who have most of the fun, not to mention the inspired voice work of a genuinely amusing comic actor in Carell (memorable moment: reading a bedtime story involving finger puppets). Segel ("How I Met Your Mother") isn't as recognizable but he too is a treat as Gru's arch child-like villain, who wears an orange track suit and keeps a shark swimming around his living room.
Brand, Wiig, Julie Andrews, Ken Jeong, Cosgrove, Jack MacBrayer and Will Arnett all lend serviceable voice support and the animation is solidly colorful though certainly not on the detailed level of any Pixar feature, which remains the gold standard in animation. "Despicable Me" is akin to "Shrek" in its bevy of adult humor, much of which the kids won't get, not to mention a little mean-spirited at times (they sure enjoy slapping and insulting each other). The movie is too slow in its mid-section and is too predictable down the stretch, but you’ll still leave the theater with a big smile.
Then there's the aforementioned minions, who nearly steal the movie from Carell every time they show up on screen. Inexplicably some have two eyes and others have one, and speak their own language, and they’re a genuinely odd visual at first but you get used to them. And stay over the credits for a humorous final episode from them. The animation is bright and simplistic, and the 3-D is unnecessary given the movie stands on its own fine without it.
You won't find many surprises in "Despicable Me," but it's a loony, enjoyable ride getting to the moon and back. Good thing the movie has the voice of Carell and those tiny minions, or it wouldn’t be near as much fun.
Being evil has never been so much fun in "Despicable Me"
By now you have probably seen the ubiquitous ads for the energetic new animated movie "Despicable Me," with all those oddly amusing, peculiar yellow minions running amok. They nearly steal the wistful movie, but they're just part of all the fun about an evil scientist voiced by "The Office's" Steve Carell who adopts three young kids as part of his bigger plan to regain his footing as the world’s top villain. "Despicable Me" has enough stamina, good messages and laughs to keep everyone in the family engaged, even if some of the humor goes above the head of the young ones.
Carell is Gru, now the world's #2 villain behind his arch-nemesis Vector (Jason Segel) when Vector steals the world-famous Egyptian pyramids. Gru's new plan is to build a rocket and with the help from a shrink ray, steal the moon. His plan includes adopting, or more like kidnapping, three young precocious girls from Mrs. Hattie (Kristen Wiig)'s home: Margot (Miranda Cosgrove) and her sisters Edith and Agnes. With the help of the girls, his trusted scientist Dr. Nefario (Russell Brand) and his legion of little yellow minions, Gru hopes to regain the #1 villain position; though in the process he becomes attached to the girls and realizes there’s more to life than being the top villain.
"Despicable Me" proves that being bad can be fun and ends up a sweet-natured, amusing occasionally peculiar look at the importance of family. It tries too hard, lacks heart particularly in the finale and is infused with too much adult humor, but its pleasant spirit is ingratiating. You can thank all those little yellow minions, who have most of the fun, not to mention the inspired voice work of a genuinely amusing comic actor in Carell (memorable moment: reading a bedtime story involving finger puppets). Segel ("How I Met Your Mother") isn't as recognizable but he too is a treat as Gru's arch child-like villain, who wears an orange track suit and keeps a shark swimming around his living room.
Brand, Wiig, Julie Andrews, Ken Jeong, Cosgrove, Jack MacBrayer and Will Arnett all lend serviceable voice support and the animation is solidly colorful though certainly not on the detailed level of any Pixar feature, which remains the gold standard in animation. "Despicable Me" is akin to "Shrek" in its bevy of adult humor, much of which the kids won't get, not to mention a little mean-spirited at times (they sure enjoy slapping and insulting each other). The movie is too slow in its mid-section and is too predictable down the stretch, but you’ll still leave the theater with a big smile.
Then there's the aforementioned minions, who nearly steal the movie from Carell every time they show up on screen. Inexplicably some have two eyes and others have one, and speak their own language, and they’re a genuinely odd visual at first but you get used to them. And stay over the credits for a humorous final episode from them. The animation is bright and simplistic, and the 3-D is unnecessary given the movie stands on its own fine without it.
You won't find many surprises in "Despicable Me," but it's a loony, enjoyable ride getting to the moon and back. Good thing the movie has the voice of Carell and those tiny minions, or it wouldn’t be near as much fun.
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